Abstract: Over the past few decades, as philosophers of mind have begun to rethink the sharp divide that was traditionally drawn between the phenomenal character of an experience (what it’s like to have that experience) and its intentional content (what it represents), representationalist theories of consciousness have become increasingly popular. On this view, phenomenal character is reduced to intentional content. This article explores a key motivation for this theory, namely, considerations of experiential transparency. Experience is said to be transparent in that we ‘look right through it’ to the objects of that experience, and this is supposed to support the representationalist claim that there are no intrinsic aspects of our experience.
Slurs and Stereotypes
Introduction: With such a robust set of explanatory advantages, stereotype semantics are increasingly influencing the development of theories of slurring terms. My aim here is quite simply to quell the tide. I focus upon the two best developed and most general theories, those of Hom and Camp, whose accounts differ primarily in how the stereotype is expressed and how the encoding of the stereotype affects truth conditions.
What’s so transparent about transparency?
Abstract: Intuitions about the transparency of experience have recently begun to play a key role in the debate about qualia. Specifically, such intuitions have been used by representationalists to support their view that the phenomenal character of our experience can be wholly explained in terms of its intentional content.[i] But what exactly does it mean to say that experience is transparent? In my view, recent discussions of transparency leave matters considerably murkier than one would like. As I will suggest, there is reason to believe that experience is not transparent in the way that representationalism requires. Although there is a sense in which experience can be said to be transparent, transparency in this sense does not give us any particular motivation for representationalism – or at least, not the pure or strong representationalism that it is usually invoked to support
Love and knowledge: Emotion in feminist epistemology
Abstract: This paper argues that, by construing emotion as epistemologically subversive, the Western tradition has tended to obscure the vital role of emotion in the construction of knowledge. The paper begins with an account of emotion that stresses its active, voluntary, and socially constructed aspects, and indicates how emotion is involved in evaluation and observation. It then moves on to show how the myth of dispassionate investigation has functioned historically to undermine the epistemic authority of women as well as other social groups associated culturally with emotion. Finally, the paper sketches some ways in which the emotions ofunderclass groups, especially women, may contribute to the development of a critical social theory.
Friedman’s Relativised A Priori and Structural Realism: In Search of Compatibility
Abstract: In this article I discuss a recent argument due to Dan McArthur, who suggests that the charge that Michael Friedman’s relativised a priori leads to irrationality in theory change can be avoided by adopting structural realism. I provide several arguments to show that the conjunction of Friedman?s relativised a priori with structural realism cannot make the former avoid the charge of irrationality. I also explore the extent to which Friedman’s view and structural realism are compatible, a presupposition of McArthur’s argument. This compatibility is usually questioned, due to the Kantian aspect of Friedman’s view, which clashes with the metaphysical premise of scientific realism. I argue that structural realism does not necessarily depend on this premise and as a consequence can be compatible with Friedman’s view, but more importantly I question whether Friedman’s view really implies mind dependence
Theory Choice, Good Sense and Social Consensus
Abstract: There has been a significant interest in the recent literature in developing a solution to the problem of theory choice which is both normative and descriptive, but agent-based rather than rule-based, originating from Pierre Duhem’s notion of ‘good sense’. In this paper we present the properties Duhem attributes to good sense in different contexts, before examining its current reconstructions advanced in the literature and their limitations. We propose an alternative account of good sense, seen as promoting social consensus in science, and show that it is superior to its rivals in two respects: it is more faithful to Duhemian good sense, and it cashes out the effect that virtues have on scientific progress. We then defend the social consensus account against objections that highlight the positive role of diversity and division of labour in science
Explaining What?
Abstract: The Hard Problem is surrounded by a vast literature, to which it is increasingly hard to contribute to in any meaningful way. Accordingly, the strategy here is not to offer any new metaphysical or ‘in principle’ arguments in favour of the success of materialism, but to assume a Type Q approach and look to contemporary consciousness science to see how the concept of consciousness fares there, and what kind of explanations we can hope to offer of it. It is suggested that while they will be materialist explanations, they will not be of the form that many scientists and philosophers would have us believe, but instead prompt a very different set of expectations and research projects.
The artist’s sanction in contemporary art
Introduction: Contemporary artworks raise a variety of ontological, epistemological, and interpretative questions that have not yet been adequately dealt with in aesthetics. Whereas traditional visual artworks have typically had a set of privi leged and (ideally) unchanging properties fixed at a particular moment early in their histories, a contemporary installation artwork may be installed differently each time it is taken out of storage, or even constituted out of different objects at each exhibition site. The resulting variation in its configuration and visual properties may simply be a function of the changing features of galleries or available materials, or it may be essential to the work’s meaning. Or both: many contemporary works are site specific, essentially responsive to their environments in such a way that context is incorporated into the work’s meaning
Appropriation and authorship in contemporary art
Abstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger’s central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists’ responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.
Scratching an itch
Introduction: In recent years, momentum has been gathering in defense of the appropriateness of aesthetic discourse in relation to a number of domains other than art and nature. Philosophers have argued that food, sports, and sex can be viewed aesthetically. It has been claimed that the “lower senses” of smell, taste, and touch may play legitimate or even exclusive roles in some aesthetic judgments. And there has been sustained criticism of the view that aesthetic judgments must be disinterested or must transport us out of the concerns of everyday life. Can this extension of the realm of the aesthetic be taken even further, so as to accommodate the idea that even the most mundane incidents of everyday life have an aesthetic character, or that there can be aesthetic experiences of such incidents? With attention to two especially hard cases, itches and scratches, I will argue that it is appropriate and worthwhile to think of even the simplest moments of everyday life in aesthetic terms. It is appropriate, because on the most plausible accounts of aesthetic experience there can be legitimate aesthetic experiences of itching and scratching; and it is worthwhile, because aesthetic attention to this domain offers the prospect of unique and significant satisfaction.